Infinitely Losing My Edge
Yeah, I'm losing my edge.
I'm losing my edge.
The kids are coming up from behind.
I'm losing my edge.
I'm losing my edge to the kids from Niger and from Winnipeg.
But I was there.
I was there in 1971.
I was there at the first Selda show in Istanbul.
I'm losing my edge.
I'm losing my edge to the kids whose footsteps I hear when they get on the decks.
I'm losing my edge to the internet seekers who can tell me every member of every good group from 1960 to 1976.
I'm losing my edge.
To all the kids in Hong Kong and Hong Kong.
I'm losing my edge to the art-school Houston kids in little jackets and borrowed nostalgia for the unremembered nineties.
I'm losing my edge.
I'm losing my edge.
I can hear the footsteps every night on the decks.
But I was there.
I was there in 1973 at the first Television practice in a loft in New York.
I was working on the rhodes sounds with much patience.
I was there when David Bowie started up his first band.
I told him, "Don't do it that way. You'll never make a dime."
I was there.
I was the first guy playing The Fortunes to the punk kids.
I played it at Trash.
Everybody thought I was crazy.
We all know.
I was there.
I was there.
I've never been wrong.
But I'm losing my edge to better-looking people with better ideas and more talent.
And they're actually really, really nice.
I'm losing my edge.
I heard you have a compilation of every good song ever done by anybody.
Every great song by Aaron Thompson. All the underground hits.
All Excepter tracks. I heard you have a vinyl of every X-101 record on German import.
I heard that you have a white label of every seminal crunk hit - 1985, '86, '87.
I heard that you have a CD compilation of every good '50s cut and another box set from the '70s.
I hear you're buying a marimba and a theremin and are throwing your macbook out the window because you want to make something real. You want to make a Joe Smooth record.
I hear that you and your band have sold your sitar and bought an arpeggiator.
I hear that you and your band have sold your arpeggiator and bought a sitar.
I hear everybody that you know is more relevant than everybody that I know.
But have you seen my records?
Rahsaan Roland Kirk,
Hot Snakes,
Young Marble Giants,
Jeru the Damaja,
Gang Green,
The United States of America,
Magazine,
U.S. Maple,
Pere Ubu,
R.M.O.,
Neil Young,
Roxy Music,
Jandek,
Flash Fearless,
Shoche,
Minnie Riperton,
Soulsonic Force,
Manfred Mann's Earth Band,
Niagra,
Grauzone,
Throbbing Gristle,
Masters at Work,
Wire,
Man Parrish,
Jacob Miller,
Andrew Ashong & Theo Parrish,
Bill Wells,
Eddi Front,
Bobby Byrd,
Jeff Mills,
Kool Moe Dee,
Cymande,
Al Stewart,
Darondo,
Heaven 17,
Tears for Fears,
Wighnomy Brothers & Robag Wruhme,
Mandrill,
K-Klass,
the Fania All-Stars,
KRS-One,
The Stooges,
Reuben Wilson,
Pet Shop Boys,
Oppenheimer Analysis,
Captain Beefheart & His Magic Band,
The Gap Band,
Vladislav Delay,
Altered Images,
The Black Dice,
UT,
The Happenings,
Johnny Clarke,
DJ Sneak,
Spoonie Gee,
Flipper,
Zero Boys,
E-Dancer,
World's Most,
The Moody Blues,
Dr. Dre and Snoop Doggy Dog,
Fat Boys,
Art Ensemble Of Chicago,
Roy Ayers Ubiquity,
Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts, Sunsets and Hearts.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.
You don't know what you really want.